Viva Italia - 1955 Hudson Italia

Restoring a rare, coachbuilt car like this 1955 Hudson Italia is especially difficult and time-consuming

Feature Article from Hemmings Classic Car

Generally, most car restorations are straightforward affairs, in that the basic start-to-finish process is common to each project. The sort of structure boasted by the subject car--whether full-frame or unit-body--is often a non-issue; the process is basically the same. Yet not all restorations are so simple, and when one delves into the details, a startling story can quickly emerge, a story that can often overshadow some of the common processes and techniques we've often read about. A perfect example of this scenario is this superbly restored 1955 Hudson Italia. To understand why, however, we first have to take a step back.

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The early Fifties welcomed flashy new American sports cars--chiefly Nash-Healey, Kaiser-Darrin and the Chevrolet Corvette--that not only piqued the interest of contemporary automotive magazines, but also generated foot traffic in the respective companies' showrooms. During this same period, once-proud Hudson was starting to suffer from declining sales. However, an opportunity arose that company executives hoped would rekindle the badge. They were being courted by the Italian firm Carrozzeria Touring in Milan, which hoped to build a limited production run of cars or, at the very least, produce a show car.
Knowing that a sports car in their showroom could generate traffic, Hudson reached an agreement with the carrozzeria. They would provide the firm with a number of smaller Hudson Jets, the unit-body chassis of which would be altered to incorporate several styling elements penned by Hudson designer Frank Spring. Utilizing their "Superleggera" (lightweight) system of coachbuilding, new bodies were hand-fabricated in Italy from aluminum and hung on a small-diameter steel tube frame. While the interiors were exquisitely dressed in leather, mechanically, the Italia was all Hudson. One prototype was constructed, and although initial output was supposed to be much higher, just 25 production coupes and one four-door were assembled, which entered the market in early 1955--just as Hudson was absorbed by the merger with Nash.
The key element in the Italia's build history, and its ultimate effect on the restoration of this particular example--until very recently owned by Scottsdale, Arizona, resident Gordon Apker--was that Superleggera construction. For those who may be unfamiliar with basic chemical processes, simply adding water to the mating surface of dissimilar metals, in this case aluminum and steel, rapidly enhances the oxidation process.
"What the Touring craftsmen did was incorporate tabs on the fabricated aluminum panels, which were then folded and secured to the steel frame (the diameter of which was about the size of my little finger) using copper wire," recalled Gordon. "Adding moisture turned the car into a battery, so by the time I purchased this Italia in 1983, sans transmission and a list of other key parts, it was already in dire need of a restoration." Beyond the metal fatigue, Gordon told us that because each car was hand-fabricated, no two body panels were identical, either from one car to another or left-to-right on the same car.
Gordon didn't commission the Italia's restoration until 2009, owing to the need to locate replacement parts and study other Italias whenever possible. With regard to parts, Gordon told us: "We had a hunch that since these were not mass-produced, it was entirely possible that components were obtained from other manufacturers. For example, I was able to determine that the parking lamps were from Austin-Healey, the side markers were from Rolls-Royce/Bentley, and the interior door handles were modified Austin Seven parts. I can't tell you how long I would sift through pages of door handle listings online every day looking for a match. With a car like this, finding much-needed parts consumes a lot of time."
The initial restoration process actually began at Gordon's private facility in Seattle, Washington, where chemical stripping removed lifeless paint, factory body filler was "dug out" and disassembly unveiled the extent of the steel corrosion. The body frame needed replacement, and in the process, consideration was given to future enjoyment. According to Gordon, "The only structural element above the doors was the front windshield, which is why you almost always see them cracked or completely shattered if they've been driven for a length of time; the bodies flex that much. I had a desire to use the car upon completion, so I had the guys fabricate a second steel frame within the greenhouse--it probably added about 200 pounds--that was secured to the unit-body floor via supports at each A- and C-pillar; the whole assembly is well-hidden within the bodywork so as to not compromise the original interior design or layout."
Another structural element was the seat brackets, so great care went into rectifying the anchor method. Yet another problem area was each of the doors, which Gordon says were never aligned properly. During disassembly, it was noted that steel hinges were hung on the thin-wall aluminum frame, necessitating the use of a number of shims during factory construction; this was corrected during the restoration.
"Pete Van Hattem deserves a lot of credit for resurrecting the body," Gordon said. "Aside from cage repair and fabrication, and alleviating issues with the doors, Peter had to fabricate new paneling around the taillamp pods (again, the Italians used steel tubes directly against aluminum skin, as well as other dissimilar metal contact points, such as the trunk latch area). The original instrument panel had been hacked prior to my ownership, and since no two were alike, Pete was able to fabricate a new panel based on a number of reference photos I had taken over the years; he's an exceptional metalworker."
While they expended a lot of effort on fabrication, fortune did smile upon the restoration team when a couple patches of hidden factory overspray were uncovered after the kickpanels had been removed. Thanks to being protected from decades of UV rays and weather, the pristine paint was sent for analysis in order to create a perfect match.
"Willy Raynor and Kevin Grimes were responsible for the paint finish," reported Gordon. "Since Pete provided a superbly smooth body, we didn't need to add filler, so we skipped right to our typical primer/paint process. First they applied a few coats of metal etching primer that was then sanded smooth. It was followed by a few coats of primer with a hint of tint which was then sanded; this step allowed them to see what areas needed more attention as far as creating a perfect surface went. A final coat of primer sealed everything before we applied paint. They shoot in cycles: three coats of single-stage enamel that was sanded after curing, and then three more coats and more sanding. If I remember correctly, we went through three cycles. When that was done, we shipped the car for final assembly here in Scottsdale."
Prior to shipping, Darien Gross, of Burien Upholstery in Seattle, was able to access the Italia in order to take extensive measurements needed to recreate the two-tone leather upholstery. With notes in hand, he first refinished both the seats and door panels that were shipped with the car to Arizona. Darien then recreated one section of the interior at a time, each shipped to Scottsdale upon completion.
Meanwhile, the 202-cu in, 114hp straight-six engine that had originally been rebuilt in Seattle was sent to Vintage Iron, also in Scottsdale. Gordon mentioned that a second examination of the engine included a bench test to confirm its functionality prior to reinstallation; a wise decision, given the amount of effort devoted to body and paint, since the continuous ebb and flow of bulky components in tight areas increases the risk of damage. Vintage Iron was also tasked with rebuilding a replacement three-speed manual transmission.
Both the engine and transmission were quickly installed while finishing touches were made to the brake and suspension systems, at which point the team began to secure the new upholstery one section at a time. Exterior trim, several pieces of which were hard to locate, was also restored and carefully secured to the body; however, the front and rear bumpers posed another problem for the team. As Gordon put it, "Superleggera aptly applied; a 10-year-old could carry those bumpers. The metal is that thin, which, of course, means that after we stripped them for replating, we could see right through in a number of places. There was a lot of filling and grinding, complicated by both the compound curves and the boxed rear sections that provided additional strength. It was, in fact, quite a difficult process, but it needed to be done correctly, just like the rest of the car."
After a few delicate last-minute touches, the Italia was completed in 2012, much to both the delight and relief of Gordon. For all intent and purposes, his Italia became the car that Carrozzeria Touring should have taken the time to construct. Better yet, Gordon was able to enjoy the car for a period of time, experiencing what few collector-car enthusiasts get the chance to do: drive a timeless, celebrated Italian-American classic.
Owner's View
"We knew what the Italia was going to look like once we had it completed, but to get there, we basically had to start all over again by first taking it down to its inner structure. It was an exercise in patience, especially with the body. As I explained it to one person, imagine taking a soda can: Twist it in one direction, then the other, and then try straightening it out. Although it may be a bit underpowered for a sports car of that era, I absolutely love the rarity and elegant, unique styling. It was a really enjoyable car to drive." -Gordon Apker

This article originally appeared in the May, 2013 issue of Hemmings Classic Car.